Sitting in a diner and looking upon a wall full of nostalgia, there hangs a picture of another older diner in some Northern city. The lettering from it’s rooftop sign almost screams “Make a font out of this!”...
so Jeff Levine did... “Hash and Beans JNL”.
family of 1 font from Solotype
A handsome German art deco design that fits in well with other types of the 1920s and 1930s. Originally without a lowercase, so we drew one for it, extending its usefulness.
family of 1 font from K-Type
Hapshash is an all capitals font inspired by the 1960s psychedelic posters of British designers Hapshash and the Coloured Coat (Michael English and Nigel Waymouth), in particular their 1968 poster for the First International Pop Festival in Rome.
Happy Heinrich has the looks of a typewriter font, but he’s far to funky just for that!
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CHARACTERISTICS
the base was a head-vein illustration. this was a pro-active scanning. new letter forms were sought and found. analog hand-drawn and digitized later. experimental, novel, fresh and eye-catcher. completely new insights into the human brain. a font for happy thoughts. ghostly visions, or simply for the next freshen party flyer.
This font is intended for use with simplified Chinese. It contains the GB2312 character set.
This font is intended for use with simplified Chinese. It contains the GB2312 character set.
This font is intended for use with simplified Chinese. It contains the GB2312 character set.
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Hand Of Sean was created from the designer’s own handwriting in 2008 for a personal project, but was made available to the public and quickly became very popular. The font was updated in 2013 with redrawn glyphs, improved spacing, better kerning and OpenType features.
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»Guilloche B« is a set of graphics that join with each other to form very sophisticated, op-art-like borders. Try them on lots of different assignments, they form very surprising bands or patterns.
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Gubia has been designed for Graviton Font Foundry by Pablo Balcells. It is a geometric, sans serif typeface with a slightly condensed design. It has been conceived to be most suitable for of all sized headlines, as well as short and middle lenght text blocks. The standard styles give texts a classic appearence while alternate styles give texts a playfull one.
Groucho is a very high-contrast script. It remined me of Groucho’s moustache so I thought it was a good name.
Grit Primer is a distressed, aged typeface resurrected from letterpress samples of schoolhouse primers common in the midwest around the turn of the century. Additional characters are also included in this expansive offering.
Grit Primer offers the charm of handset type as well as slightly offset baseline characteristics and a rough-hewn character easily visible at larger point sizes, hence the name.
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GRIBA Typeface is experimental display typeface, based on every shape of each characters and transformed into double lines which make this fonts is experimental. This fonts perfect for poster, tittles, and t-shirt designs.
As you can see above, Grante can smartly fit pretty different needs. While lowercase letters are bold-with-soft-edges, caps are magic: this font counts more than 100 ligatures for you to play in an OpenType-aware application.
It is worth mentioning that even without OpenType tricks it is possible to use these ligatures, setting them “by hand”.
We hope you enjoy.
Hey! Have we said that dingbats are included?
Grandezza is my most elaborate script so far and it is the script for many countries that write in Latin letters as well.
I designed it in 5 different parts, since I still think the OpenType Format is “phantastic” but not very practical. I give you 4 sets of letters plus a set of initials, end-letters and ligatures galore. This gives you a choice of four different capital letters, some different lowercase-letters and the possibility to mix the initials and endletters from the »Echo« set into the lot. More…
Graffiti Treat is a staggered, angular, graffiti inspired display font.
Capitals are messy. Lowercase letters are clean.
A drippy, runny, messy graffiti font.
Here is another design by jewelry designer Max Joseph Gradl.
Zier is a verb, meaning to decorate, adorn or ornament; zierlich means decorative, elegant, fine, neat. Schrift means type. Zierschrift, therefore, means decorative type. Gradl Zierschriften is a decorative type in the Art Nouveau style, rather than the more ornate Victorian style. Very modern, very young, with an elegant simplicity of form. More…
Max Joseph Gradl designed Art Nouveau jewelry in Germany. At least some of his designs were produced by Theodor Fahrner of Pforzheim, Germany -- one of the leading manufacturers of fine art jewelry on the Continent from 1855 to 1979.
I don't know if he designed for Fahrner exclusively, but every example I found was produced by that firm. I assume it was also the same M.J, who edited a book, Authentic Art Nouveau Stained Glass which was reissued by Dover and is still available.
More…
They exhibit a sculptural quality as if they were modeled in clay (or gold) rather than drawn on paper. His monograms, especially, reflect that quality. Those shown in plates 112 through 116 in Petzendorfer actually appear to have been designed specifically for fabricating in the form of gold or silver pendents.
Of the initial letters that came out of Germany during this period, these by Gradl seem unusually open and lyrical. They seem to be dancing on the page, rather than sitting. Please note that Gradl designed only the decorated initials.
All other characters supplied were extrapolated by HiH, including the accented initials. Orn.1 (unicode E004) is based on a jeweled gold clasp designed by Gradl (please check out Gallery Image on Myfonts.com).
Also included are an art nouveau girl’s face, a swan and the face from Munch’s “Screamâ€, from scans of old printer’s ornaments.
Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area.
Total of 341 glyphs. Both upper & lower case provided with appropriate accents.
Revised vertical metrics for improved cross-platform line spacing.
Four Ornaments: face1, face2, swan and orn1 (silhouette of Gradl clasp)
Use whichever works best for your applications.
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A revival of one of the popular wooden type fonts of the 19th century, suitable for text or display, short descenders, tall ascenders, the narrow, italic version, completing the family of 6 fonts in total, sans serif.
family of 1 font from Gerald Gallo
Gothic Initials Third Set was inspired by the beautifully-written gothic scripts of medieval scribes.
family of 3 fonts from Ingrimayne Type
Gothamburg is a blackletter or square gothic face. The shapes of many of the letters were inspired by sets of letters in Oscar Ogg’s The 26 Letters (Thomas Y. Crowell Company, 1963, 1948) illustrating the gothic style of the middle ages. The Plain and Thin versions differ not just in pen width, but also in pen angle. The Thin version has less contrast between the thin and thick strokes.
family of 2 fonts from Sideshow
Goofball is yet another wacky decorative typeface from Squid and Sideshow. As with most of his art and font design, Goofball is derived from Squid’s cluttered childhood recollections of greeting card and advertising lettering. Somehow it got all mushed together in his noggin and out came Goofball!
family of 1 font from Solotype
Our font (circa 1895) of this old wood type was made by Hamilton of Two Rivers, Wisconsin, but we have been told that another identical font was made earlier by W. H. Page, Greeneville, Connecticut.
family of 1 font from Nick's Fonts
Ross F. George, master of the Speedball pen, called this rather rugged typeface “Personality Script”, which might be a suitable name if you had the personality of a porcupine.
Gluten is an family experimental font designed by Carlos Fabian Camargo. His fonts have irregular shadow to communicate craftsmanship. Its multiple upper cases with condensate width and naive lines are notable for their expressive drawing with high amount of contrast between thick and thin strokes.
